Suchergebnisse

The aim of this article is to study the history of "The Fall of the Squadron" play in the theatres ofSoviet Union. The plot of the pay is based on actual events of 1918 when the Black Sea Fleet of theRussian Empire was deliberately sinked as a result of Treaty of Brest-Litovsk. From the standpointof 1930's the play aimed to imprint the past as a projection of Revolution. The performances ofthe play mainly contained the heroic and revolutionary spirit of the Black Sea seamen and their"second homeland" — the city of Sevastopol. But after the political reforms in the 1950-1960's theatres the started to address their productions to people's inner world. The destruction of the Fleet was considered not only as part of the Civil War but also as a human tragedy for those who faced it has lost everything they've had. ; Рассматриваются особенности эволюции пьесы А. Е. Корнейчука «Гибель эскадры» на со-ветской театральной сцене. Ее сюжет опирался на историю затопления Черноморского флота в1918 г. вследствие подписания Брестского мира. В трактовке 1930-х гг. пьеса стремилась закре-пить прошлое как проекцию революции. В спектаклях преобладала героически-революционнаясущность черноморцев и их «второй Родины» — Севастополя. Но после политических реформ1950 — 1960-х гг. театральные постановки обратились к внутреннему миру человека. Уни-чтожение флота воспринималось не только как один из эпизодов Гражданской войны, но и кактрагедия людей, на глазах у которых гибло все, что составляло важную часть их жизни.

Aus sowjetischer Sicht

New monographs of the scholarly series ROSSICA. Russia and the West. Literary Connections and Contacts of the Litfact publishing house examine Russian-French and Soviet-American literary and cultural connections of the first half of the 20th century. Book by Alexandre Stroev is dedicated to the Russian writers (I. Bunin, Dm. Merezhkovsky, A. Bely, E. Zamyatin, M. Voloshin) in France, their literary and public reputation and the reception of their works. Galina Lapina considers American-Soviet contacts and joint projects (theatrical, cinematic, educational) of the 1930s and early 1940s. The heroes of her book are American writers, journalists, diplomats, artists, and students. Both monographs are based on archival documents, letters, memoirs, fictional texts, materials from the Soviet/Russian and foreign (French or American) press. The study of an impressive source array made it possible to reveal unexplored episodes in the life of Russian writers in France and unknown part of their legacy, to reconstruct the history of Soviet-American joint ventures in the fields of culture, education, literature, theater and cinema.

The article introduces the creative work of the famous American playwright Sam Shepard, whose works are almost unknown to our Uzbek reader. His plays are wellknown throughout the world; they influenced the formation of the worldview of readers of different nations and show the peculiarities of American culture. Despite the worldwide fame of Sam Shepard's works, they are not studied well by literary critics. In America and Europe his works have been studied in details for a long period, and even several monographs in English have been written. However, neither in the Russianspeaking, nor in the domestic literary criticism there is yet no major work on Shepard's works. The article also deals with the artistic features of the political myth of the "American dream" in one of the most scandalous plays, "The God of Hell," dedicated to the protest against the war in Iraq. Thus, this study, which touches upon some issues of Shepard's creative work in connection with his innovative artistic originality, to a certain extent, seeks to fill this gap.

Creative activity of L. Ya. Gurevich was a prominent and important phenomenon in the literature of the turn of the era. Reference literature speaks of her as an enthusiastic editor of one of the most popular magazines of the late 19th century. "Severnyj Vestnik" and a desperate publisher of the most sensational works of Russian symbolism. She was the author of bright historical-literary, literary-critical articles, and fiction. Moving away from her literary activity, L.Ya. Gurevich became one of the most famous theater critics. However, there was a certain period in her work that was closely associated with the feminist movement. The role of women in society worried L.Ya. Gurevich from early youth. The position of the writer is determined through the prism of the female images she created, many of which are autobiographical. After publishing several political broshures, L. Ya. Gurevich gained great fame among public and political figures. Fighting for the equality of women, L.Ya. Gurevich wrote about the high intellectual level of the representatives of the feminist movement and did not allow "to reduce it to outrageous tricks like smoking short-haired women in public".

The article presents the experience of socio-cultural work with elderly citizens in the conditions of a complex social service center, as well as the results of an empirical study conducted by the author, aimed at identifying the satisfaction rate of elderly citizens with leisure activities in the day care department. As a result, it was determined that the quality of services provided during the stay in the day care department is rated as high by the clients, which allows asserting the professionalism of the staff working with them; the clients tend to prefer those types of services that are aimed at maintaining health and well-being; the clients are satisfied with the material and technical equipment of the day care department; the clients want to see new types of services in the day care department and are ready to pay for them additionally. These services include going on excursions outside the city, lectures by specialists from medical institutions on various topics related to the health of the elderly and disabled, visiting the cinema, visiting the theater.

The revival of cultural and spiritual life in post-war Germany was an integral part of the policy of democratization which was pursued in the occupational zone by the American military government. The paper considers the main actions of the occupational authorities in the direction of ―re-education‖ of Germans in pro-American democratic traditions: renewal of theater and musical life, cinema, creation of information centers, work with the youth, church policy. As in the political sphere, the American administration aspired the revival of public and cultural life to be mainly a duty of Germans under the American supervision and control. However in general the intervention of military government into the development of cultural life was insignificant. ; Возрождение культурной и духовной жизни в послевоенной Германии являлось неотъемлемой частью политики демократизации, которую проводила в своей оккупационной зоне американская военная администрация. В статье рассматриваются основные мероприятия оккупационных властей в направлении «перевоспитания» немцев в проамериканских демократических традициях: возобновление театральной и музыкальной жизни, кинематографа, создание информационных центров, работа с молодежью, политика в отношении церкви. Как и в политической сфере, американская администрация стремилась к тому, чтобы возрождение общественной и культурной жизни было главным образом обязанностью самих немцев под американским надзором и контролем. Однако в целом вмешательство военной администрации в развитие культурной жизни было незначительным.

The article discusses Islamist projects promoted by Saudi Arabia and the Qatari-Turkish Alliance to strengthen their positions in Syria. The Saudis are focused on conservative Salafi Islamism, while Qatar and Turkey adhere to the moderate ideology of Islamism Muslim Brotherhood. Since the beginning of the crisis, the struggle between the competing forces has been unfolding within the opposition structures (the Syrian National Council, the National Coalition) and in the theater of operations, where there is a support for certain military formations loyal to 'Pro-Saudi' or 'Pro-Qatari' representatives of the opposition. The struggle of the Qatari-Turkish Alliance and Saudi Arabia has led to a signifi cant weakening of the positions of Qatar and Turkey in the negotiation process, however Doha and Ankara continue to maintain control over numerous armed groups of moderate persuasion. ; В статье рассматриваются консервативные проекты исламского окраса, продвигаемые Саудовской Аравией и катарско-турецким альянсом для укрепления своих позиций в Сирии. Саудовцы ориентированы на консервативный салафитский исламизм, в то время как Катар и Турция придерживаются умеренной идеологии исламизма «Братьев-мусульман». С начала кризиса борьба между конкурирующими силами идет как внутри оппозиционных структур (Сирийский национальный совет, Национальная коалиция), так и на театре боевых действий, где наблюдается поддержка тех или иных боевых формирований, лояльных «просаудовским» либо «прокатарским» представителям оппозиции.

International audience The article discusses chronologically important things from the finds belonging to the steppenomads of the Post-Hunnic periods in Eastern Europe, from the Urals to the Lower Danube (mid 5th – mid 6th centuries):weapons, horse equipment, elements of costume, jewelry. It should be noted that very similar types of these thingsprevail across the entire steppe area during the Post-Hunnic time, indicating the steppe nomad cultural homogeneity,regardless of their origin and ethnicity. Some things from the steppe graves of the time have a wider date and existuntil the 7th century. Some things are typical for the early stage of the Post-Hunnic horizon, i.e. time around themiddle – the second half of the 5th century. On the other hand, some things mark the end of the Post-Hunnic era anddate back to the middle or second half of the 6th century. The date for most of the things examined here is establishedby external analogies, known in vast territories, which include the Western European and Balkan-Danubian regions.There the reasoned chronology of antiquities of the 5th – 6th centuries was developed, which is based on numerouscoin finds and also on dendrochronology. Equally important for the chronology of steppe antiquities are analogsderived from the monuments of the sedentary population of the steppe borderlands, where there are numerousclosed complexes. First of all, these are monuments of the North Caucasus, and the Crimea, on the chronology ofwhich there are numerous studies. Some of the things we have considered belong to the prestigious "princely"culture and are of Mediterranean or Asian origin and thus reflect the cultural, military and political, economic tiesof the steppe population and political orientation of the steppe "princely" elites in the Early Middle Ages.Key words: Eastern Europe, Post-Hunnic periods, steppe, nomads, chronology.

Das Thema dieses Artikels ist das ungarische Theatersystem.Der erste Teil befasst sich mit allgemeinen Fragen im Zusammenhang mit dem bestehenden Modell der Theateraktivität.Darauf folgt eine analytische Übersicht der heutigen ungarischen Kulturgesetzgebung unter besonderer Berücksichtigung des Gesetzes XCIX von 2008 "Über die Förderung der Organisationen derVortragskunst und über ihre besonderen Beschäftigungsregeln". Dann werden alle aktuellen Modelle der direkten und indirekten finanziellen Unterstützung für Theaterorganisationen überschaut.Da es Ähnlichkeiten zwischen dem russischen und dem ungarischen Theatersystem gibt, konzentriert sich der abschließende Teil des Artikels auf die teilweise Übernahme der ungarischen Praxis, die die Entwicklung von Institutionen durch zusätzliche Mittel für russische Theater fördern würde. ; The present study is concerned with the Hungarian theatre system. In the first part generalquestions connected with the existing model of theatrical activity are treated. This isfollowed by an analytical review of modern Hungarian cultural legislation, in which specialattention is paid to the structure and content of Law XCIX / 2008 "On the support and rulesof employment in organizations of performing arts". Then all the existing present-day modelsof direct and indirect financial support of theatrical organizations are considered. Since theHungarian and Russian theatre systems have some similar characteristics, the final part isdevoted to possible partial adoption of Hungarian experience with a view to developing theinstitutions for the additional funding of Russian theatres. ; Настоящее исследование посвящено венгерской театральной системе. В первой части рассматриваются общие вопросы, связанные с существующей моделью театральной деятельности. Затем следует аналитический обзор современного венгерского культурного законодательства, в котором особое внимание уделяется структуре и содержанию Закона XCIX / 2008 «О поддержке и правилах занятости в организациях исполнительского искусства». Затем рассматриваются все существующие на сегодняшний день модели прямой и косвенной финансовой поддержки театральных организаций. Поскольку венгерская и российская театральные системы имеют некоторые сходные характеристики, заключительная часть посвящена возможному частичному заимствованию венгерского опыта с целью развития организаций для дополнительного финансирования российских театров.

Die Fragestellungen nach der Vereinbarkeit von sozialer und kultureller Sphäre und Privatisierung, nach deren Nutzen auf diesem Gebiet und den Formen und Mechanismen ihrer Durchführung stehen im Mittelpunkt der vorliegenden Abhandlung. Dazu werden zunächst das Verständnis von Privatisierung an sich sowie die Unterschiede dargestellt, die sich bei zu privatisierenden Organisationen und Objekten ergeben, die im allgemeinen nicht auf Gewinnerwirtschaftung ausgerichtet sind. Der Verfasser unterscheidet in den letzten Abschnitten seines Beitrages zwischen kommerzieller und nichtkommerzieller Privatisierung, erörtert die damit verbundenen Eigentumsfragen und die Rolle des Staates. (BIOst-Rgl)

The article describes the original aesthetic and philosophical concept – the motor aesthetics of Akim Volynsky. Volynsky uses the concept of «motor aesthetics» in the Kniga likovanii, describing the value of circular lines for the «all aesthetics, visual, sound and motor», and particularly pirouette for motor aesthetics. The term «motor aesthetics of Akim Volynsky» is used in this article for the first time and is studied by the author from an interdisciplinary perspective. Motor aesthetics is developed by Volynsky for plastic art as a language of description of classical ballet, he introduces the basic concepts, formulates the laws, defines the basic philosophical categories that underlie it. The importance of Volynsky's work on the formation of the language of classical ballet description is recognized in the professional environment and theater criticism. The study of the motor aesthetics of Akim Volynsky is relevant in connection with the study of the philosophical foundations of intermedial analysis. The article deals with the problem of time and space in the motor aesthetics of Akim Volynsky for the first time. The direct connection of Volynsky's later works on ballet with his early article on Kant is revealed, the conclusion about the originality of Volynsky's philosophical position in relation to the categories of time and space is made. Using the thesaurus of Kant's transcendental aesthetics, Volynsky defines the two-act structural relationship of time and space according to the «par coupe» (fr) principle, which he regards as universal. It was concluded of Volynsky's motorial aesthetics value not only in the history of classical ballet and theatre criticism, the history of of the Russian literature and philosophy of the late 19th - early 20th century, but also in the modern philosophical anthropology and ontology.

The article is about the word 'panache', which refers to the main characteristic of the protagonist of the most popular play in the French theater - Cyrano de Bergerac by Edmond Rostand. This word, being the last word in the play, and also in the life of Cyrano, is a semantic neologism of a complex - both metonymical and metaphorical - nature, in the base of which lies a specific noun panache with the meaning of 'plumage'. Reinvented panache is connected metonymically with the image of Henry IV, who ordered his troops to look up to his white plumage during the battle, and metaphorically - with the visual image of this colorful and always in motion vestimentary attribute. This neologism was needed to be explained, which has been done by the author himself, on the meeting of French Academy, to which he had been elected. However, his explanation, done in a neo-romantic way, stressing that panache is a "spirit of courage", was not exhaustive, which can be suggested judging by numerous interpretations of this word from different points of view (literary, philosophical, psychological, etc.). Soon after the phenomenal success of the play followed a Russian translation of it, made in a phenomenally short time (only within a month after a premiere in Paris) by T.L. Schepkina-Koupernik, and then translations by V.A. Soloviev, Yu.A. Aihenvald and E.V. Baevskaya. These remarkable examples of translated literature showed the untranslatable nature of the word panache. Thus, T.L. Schepkina-Koupernik made it "a plumed hat", E.V. Baevskaya - "a pride" (which does not fully express the idea of panache, as there are also reckless courage, humble nobility and ingenious eloquence and in it). V.A. Soloviev and Yu.A. Aihenvald do not mention this word at all: the final of the play is constructed in a way to avoid the translation of panache. Still remaining untranslatable, panache by its semantic energy stimulates theoretical re-thinking of the problem of how to translate the untranslatable.